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After I saw "Extreme Prejudice" I decided not to chase down the album as soon as possible, because I found the music... well, not good (as was the movie).
Now that I have about everything that has been released from Goldsmith, I got the album finally.
And I have to say that I was wrong. Originally I rated the score a 2 on a scale of 5, but now I rate it 4.
I love his experimental electronic stuff from the 80s as a counterpoint to the late 70s writing.
Some elements came from Under Fire, other would return in Med. Man in '92. And there is a downwards-then-upwards glissandi effect that became a major motif in '95 Congo.Who agrees on my rating?
Or disagrees?
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Posted: |
Apr 16, 2001 - 10:41 AM
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By: |
OHMSS76
(Member)
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This is a funny score, but I agree Wes, I give it a 4-5 also.I flinched when I first heard it 6 years ago....but kept at it, knowing that repeated listens would help this score to appeal. Eventually the anarchronistic mix of Euro synth pop that kaiju-oyabun  http://www.filmscoremonthly.com/board/biggrin.gif"> loves so well, and rough and tumble orchestra make for a wonderful mix. Try driving VERY fast to the 9min. 'The Plan' cue....the score sounds like Under Capricorn One Fire 100 Rifles http://www.filmscoremonthly.com/board/biggrin.gif"> All the best,
Sean
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Very nice, taut score. The climax of The Plan has a red hot, searing nihilism that's as exciting as anything he has written. The mixture of electronic and orchestral elements is particularly adroit; listen to how the special forces team is identified with recurring colors, like the millitaristic trumpet pulses and the looped electronic buzzing. The first half of The Funeral seems almost like a Morricone homage (compare Goldsmith's effect to the coyote wailing from The Good, the Bad and the Ugly).
NP: Psycho II (Goldsmith)
[This message has been edited by Bill R. Myers (edited 16 April 2001).]
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A truely excellent score by the maestro...I saw the film one night on TV and I really enjoyed it and I loved the score so the next day I called up J&R Music World down near City Hall to see if they had it and quickly went down there to snatch it up. And I haven't regretted it once, a perfect score. I would love to hear the music that was in the film as well which was also killer.
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Indeed The Plan is an excellent cue, but how about A Deal, that closes the album. It's almost march-like and maybe not as powerfull as the final cue on the Under Fire album (which is has some similarities to), but it reaches a high emotional level.
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Opinions about EXTREME PREJUDICE from days long gone by. This years marks the 20th anniversary of this "Extreme Prejudice" thread, and since the score just got a new release, I couldn't resist to resurrect it.
In any case, I always enjoyed this score from the beginning, when I got the original LP in 1987. I saw the movie probably a couple of years later and enjoyed that too. I still remember when I first put the needle on the groove (I had a Technics turntable and amplifier back then) and "Arrivals" started to sound out of my speakers (at the time Canon), it was love at first hearing. I know this score is not everyone's cup of tea, but to me it's up there with the canon of Goldsmith's other great western scores.
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20 years, damn...wonder how many of these posters are still alive
And if they are, whether they have re-evaluated the score?
I haven’t - hated it then, hate it now. The Plan notwithstanding, as that’s a great cue, I just find it boring and monotonous
It has happened to me that I re-evaluated music which I didn't like before and came to appreciate it. I don't think it has ever happened to me that I re-evaluate a piece of music which I like to then don't like it anymore.
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Some of the MIDI work is arguably "noisy" -- it is certainly Goldsmith's most heavily synthesized otherwise-orchestral score -- but I give it points for having a high degree of melodic and harmonic inspiration, and some impressively complex writing.
For me, the soulful, elegiac moments of Extreme Prejudice remind me more of First Blood than the actual Rambo sequel scores do.
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